Art exhibitions at Kendal Mountain Festival 2018
Connection to the Landscape, mountains and nature is our central theme this year. Spreading out from the festival hub at the Brewery Arts Centre is a network of art that will immerse you in the Landscape
This year we welcome the following artists:-
Jane Rushton: Breathing Spaces
Jane will be showing paintings and mixed media works that reflects on an immersion in the landscape and environment of northern locations including the Highlands of Scotland where she lives, Greenland, and Svalbard.
Whether responding to the infinitesimal relationships that occur between elements, or taking a very large overview, these artworks are about noticing, paying attention, valuing, and sharing.
Jane's work will be displayed in the Sugar Store Gallery which is located in the Brewery Arts Centre. Her website is here
Jenny McLaren : Tracing Contours
I am not so much a mountaineer, although I love being on the mountains, as a wanderer of the in between places. I choose paths that will take me through the passes, routes that let me see the shape of the mountain from a distance and from various directions. Walking is as important to my art practice as the actual touching paint to paper is.
The work in “Tracing Contours” will be a painted diary of selected walks taken over the 5 months leading up to the exhibition. Landscape containing both mountains and a body of water is my main subject. I find I can only paint a place by spending time in it and taking notice of as much as I can while I’m there. I take photographs and sketch and sometimes make small works on the spot, the larger paintings are all completed in the studio. I work mainly in water based media (watercolour, acrylic ink, acryl gouache) on paper, wood panels or old maps.
Jenny's work will be displayed in the Warehouse Cafe which is located in the Brewery Arts Centre. Her website is here
Mountain of Destiny: Kanchenjunga 1929
Photographs from the 1929 German Kanchenjunga Expedition presented to E. O. Shebbeare (private collection) and paintings of Kanchenjunga by the landscape artist Julian Cooper curated by Dr. Jonathan Westaway, University of Central Lancashire.
In 1929 Germany launched its first Himalayan mountaineering expedition under the leadership of Paul Bauer. Its goals were explicitly nationalistic, motivated by a desire to rebuild a faith in German manhood and to finally leave behind the defeat and humiliation experienced in the First World War. Bauer’s various accounts of the Kanchenjunga expeditions in 1929 and 1931 are shot through with the language of struggle and military metaphors, the celebration of mountaineering comradeship harking back to the camaraderie of the trenches. Underpinning it all was a sense of German national destiny expressed in the language of racial theory.
But if the expedition’s goal was to establish German mountaineers on the world stage it also brought them into contact for the first time with the multi-ethnic world of the Himalayas. The photographs taken by Bauer and his colleagues Julius Brenner and Dr. Eugen Allwein all exhibit a strong ethnographic sensibility, sensitive to the ethnic diversity of Sikkim and the region. Sherpa and Bhotia high-altitude workers are accorded special attention. They featured in group photographs and individual portraits. One remarkable photograph features the expedition cook Tenchaddar, seated outside a tent, praying in the Lotus position. The sublimity of this image is underlined by the fact that, all too often, Western mountaineers ignored and belittled the indigenous religious practices of the expeditionary labour force they relied on.
What marks these images out as unique is that they were annotated by E. O. Shebbeare, the British transport officer on the 1929 Kanchenjunga Expedition. A forestry official and founder member of the Himalaya Club, Shebbeare was able to name most of the Sherpas featured in the photographs, preserving for us their individuality and unique identity. In one tender portrait a group of seven Sherpas lies in the grass, smiling at the camera, twirling Edelweiss in their hands. The flowers, a symbolic link with the Germans’ own Bavarian homeland, signal a tranquil moment before the fruitless struggle on the N. E. Ridge. Mountain of Destiny: Kanchenjunga 1929captures a unique moment in German Himalayan mountaineering before the deadly focus on Nanga Parbat consumed so many mountaineering lives and before German and Austrian mountaineering organizations became subsumed into the Nazi Reich.
Heaton Cooper Studio Gallery, Grasmere, Cumbria, opens 15thNovember 2018, part of the Kendal Mountain Festival 2018.